LD: You're one of the main writers.
LB: Stevie had an incredible audience for her album when it came out. It came into the charts at number 12, or something like that. People don't understand what I'm about as much. She's got a very definite image. A lot of people are into that. I think what I have to offer is certainly less commercial. It's gonna be less accessible to the same number of people. Not as many people will want to take the time to really get inside what I'm doing. Although, once they do, I think there's a lot more there. The experimental thing is just something I have to do.
LD: When you wrote it, did you write it consciously like that?
LB: No, but we were going through those things at the time, so it just happened to work out that way.
LD: Like Go Your Own Way? You and Stevie [Nicks] were breaking-up. You were going your own way.
LB: We certainly were. So the success bothered me. It didn't bother me that I was making some money off it, but it bothered me that I felt that I wasn't really approaching a level of what I consider to be interesting musically. It wasn't meeting with what I felt was an inner success. So Law and Order, or even some of the stuff on Tusk, is more of what I consider interesting.
LD: How old were you when he died?
LD: Then he didn't get to see all your success?
LB: No. He got to see the Buckingham-Nicks thing. That was about it.
LD: Does that bother you?
LB: Yeah. I miss him. We were brought up very formally, not a lot of open display of affection. And we were just sort of breaking through that.
LD: Somebody asked you if it was difficult working with an ex-girlfriend in the band and you said it was more difficult when you were together. True?
LB: I think it was more competitive when we were together.